Sangue e Areia

I've watched "Blood and Sand" several times; I own the DVD. With every viewing I notice some new subtle nuance in the under played gestures of Valentino. In the big seduction scene between Valentino and the voluptuous Nita Naldi, she sits at a harp, delicately playing, with her back to Valentino. He walks up behind her chair, clearly aroused, and he begins to seductively stroke the chair! This is so under played and yet so visually compelling and sensuous.It is so unlike the melodramatic rather hystrionic aesthetic so often found in films from this period. Valentino's restraint throughout the film's more emotional moments is compelling; his subtlety pulls the viewer intimately inward.True, the bull fighting scenes leave a bit to be desired. They are the result of some rather choppy editing and sadly come off looking peculiar,even humorous at times. Somehow Valentino pulls it off, his graceful movements, his quiet emotions, his compelling sensuality more than make up for the lack of authenticity in the bullring.

The color cinematography which won an Oscar and the outstanding performances of stars Tyrone Power, Linda Darnell, and Rita Hayworth made the sound remake of Blood And Sand an enduring classic. But this silent version and much shorter version of Vincente Blasco Ibanez novel has a lot going for it.

Mostly it has Rudolph Valentino going for it. Valentino is cast well as the champion bullfighter of Spain who rises from poverty and marries the girl next door. But then this Samson of the Corrida throws it all away for the love of the Delilah like Dona Sol.

Lila Lee is the girl next door who Valentino marries and silent screen temptress Nita Naldi plays the beautiful and cruel Dona Sol. That one gets Valentino definitely going south of his Mason/Dixon line. In that sense Blood And Sand was a perfect Valentino picture because it had Valentino for the women to swoon over and Naldi for the men to drool over.

I did miss Laird Cregar playing the epicene critic Curo from the sound version. On the other hand there's Walter Long playing a bandit chief whose life as a lot of parallels to that of protagonist Juan Gallardo.

One thing that is radically different is that this silent version takes a position most against the sport of bullfighting. I'm betting that it was not popular in Spain or with Ernest Hemingway. The sound version has far more macho approach.

You'll have to decide for yourself which is better.

"Blood and Sand" tells us many times how cruel and dangerous it believes bullfighting to be, but in terms of what it actually shows us, it seems far more interested in the romantic qualities of Rudolph Valentino and his larger-than-life love triangle.

Valentino gives a legitimately good performance, but even the love story loses some of its immediacy from the fact that "Blood and Sand" takes its subject at some distance, periodically stepping back and focusing on the scholar who foreshadows the matador's end. This also allows some of the characterization to go without being fully realized. When all is said and done it is neither believable as an anti-bullfighting film nor totally involving as a story of a love triangle, but some of the elements, including the performances and some excellent symbolic imagery, are well realized.

BLOOD AND SAND (Paramount, 1922), directed by Fred Niblo, stars silent screen legend Rudolph (billed Rodolph) Valentino in one of his most celebrated roles as a bullfighter from the suburbs of Seville whose rise to fame eventually puts his life into a different direction. While the title might indicate violence at the beach, such as sunbathers and swimmers encountering shark attacks, (director Steven Spielberg took care of that with his 1975 hit, JAWS), the movie only lives up to its name towards the end of the story.

Set in Spain, the plot revolves around Juan Gallardo (Rudolph Valentino), also known as "Zapaterin" (The Little Shoemaker), who longs to become a famous matador in spite of the protests from his widowed mother (Rosa Rosanova) wanting her son to have a more safer profession by following his late father's trade working as a shoemaker, but that doesn't go well with him. As his dreams become reality, Juan, having made a name for himself, is reunited with Carmen Espinosa (Lila Lee), his childhood playmate now back home from convent school. The two marry, and as he rises to the top of his profession, Juan offers her wealth and happiness. Things start to change as Juan meets and succumbs to the passionate charms of Dona Sol (Nita Naldi), niece of the Marquis De Moraimas (George Pierlot).

Of the supporting players featuring George Field as El Nacional; Rosita Marsiti as Encarnacion; Leo White as Antonio; Fred Becker as Don Jose; among others, the character who is most essential to the story is Don Joselito (Charles Belcher), a philosopher, whose home is surrounded with ancient instruments of torture (superimposed with people strapped and tied to these devises). He writes recorded documents about various people who interest him, and what is to become of them, namely Juan and his bandit friend, Plumitas (Walter Long), whose backgrounds differ but with parallel professions (Juan kills bulls while Plumitas kills men), each are to have similar ends. Joselito writes this about Juan, "Juan Gallardo has reached his goal. Will success spoil him or will his love for little Carmen overcome the plaudits of the populace and the cruelty of the national sport?"

The now familiar Vicente Blasco Ibanez story was remade successfully and memorably by 20th Century-Fox in 1941 starring Tyrone Power, Linda Darnell and Rita Hayworth in the Valentino, Lee and Naldi roles. Longer than its predecessor, the remake includes a lengthy opening tracing the early life of Juan as a boy while the Valentino original centers upon his Juan as an adult, with very little about his upbringing, thus, being mostly a dramatic story on the personal life of an acclaimed matador. In spite of its premise, BLOOD AND SAND consists of limited bullfighting scenes, compared to several used in the remake, each featuring memorable love scenes between Juan and his mistress, Dona Sol. While Nita Naldi's performance might come off as campy, Rita Hayworth's interpretation is most alluring. Fred Niblo's direction may be slow going at times, but manages to bring the culture and Spain to life, especially with their afternoon recreation as they are seem being entertained by watching a good bullfight. Ole! Ole!

Because of his early death in 1926 at age 31, the Valentino name has become immortal. BLOOD AND SAND, along with THE FOUR HOURSEMEN OF THE APOCALYSE (1921), THE SHEIK (1921) and its sequel, THE SON OF THE SHEIK (1926) have become notable titles that best personify the Valentino legend, yet, television revivals have become rare. BLOOD AND SAND did become one of the thirteen movies presented on public television's weekly series of "The Silent Years" (1971), hosted by Orson Welles, with film print from the Paul Killiam collection,accompanied by a piano score by William Perry, the print used for the Blackhawk (later Republic Home Video) distribution during the early 1990s. At one point, BLOOD AND SAND was shown on cable television on the Nostalgia Channel around 1993-4 as part of its Saturday evening showing of "When Silents Was Golden." A decade later, KINO VIDEO restored BLOOD AND SAND with clearer picture quality and corrected silent film speed, as well as some restored footage missing from the standard 82 minutes (including the opening of the Paramount logo), thus, moving its length up to 110 minutes. The KINO print is accompanied by a new score by Rodney Sauer and the Mont Alto Motion Picture Orchestra. But beware of shorter prints running at 62 minutes, the abridged print that played on numerous occasions on Turner Classic Movies' "Silent Sunday Nights" prior to 2000.

BLOOD AND SAND is classic Valentino at best. Aside from playing a young man with ambition, a tango dancer, and a lover of women (although a title card earlier in the story has him saying "I hate all women except one"), Valentino is perfectly cast as the bullfighter of Seville, and that's no bull. Viva, Valentino!

Impoverished shoemaker's son Rudolph Valentino (as Juan Gallardo) wants to be a bullfighter, much to his widowed mother's dismay. Still, toreador Valentino excels in the dangerous sport; and, later, he is wealthy and famous throughout Spain. Along the way, he marries virtuous childhood sweetheart Lila Lee (as Carmen). For Valentino, temptation accompanies fame, as he falls under the spell of wicked temptress Nita Naldi (as Doña Sol), a slightly sadomasochistic bullfighting groupie. Can Valentino love two women at the same time?

Valentino performs well as an innocent ragamuffin who achieves great fame; of course, this parallels the idolization of the film's star. Moreover, the Idol proves just as attractive being seduced (herein, by Ms. Naldi) as he was the seducer (in the recent "Sheik"). Fred Niblo's "Blood and Sand" is a classic; however, the story, and disjointed bullfighting footage, do bog things down.

Great things happen, after about a quarter hour, when Valentino steps into Naldi's lair. In a neat bit of acting business, Valentino wipes a sweaty hand before greeting his seductress; then, he and Naldi's servant exchange weird looks as Valentino gets his cigarette lighted. After some crosscutting to innocent Ms. Lee, Naldi's harp-playing gets her man.

Writer June Mathis adapts well, for her star; but, the Ibáñez story should have more streamlined. Combining, or further developing, the characters played by Charles Belcher (Don Joselito) and Walter Long (Plumitas) might have helped. Mr. Belcher's character is most interesting; he collects torture devices, and choruses the film's thesis: "Happiness and prosperity built on cruelty and bloodshed cannot survive."

******* Blood and Sand (8/5/22) Fred Niblo ~ Rudolph Valentino, Lila Lee, Nita Naldi, Charles Belcher